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Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The 80th Pursuit Group (Interceptor) was constituted on 13 January 1942 and activated on February 1942. It was redesignated as the 80th Fighter Group in May 1942. During World War II, the group was the first USAAF unit to be stationed in Burma after the Allied retreat in 1942. During its two years in combat, this group, which called itself the Burma Banshees, kept the supply lines open to China while clearing the way for Allied forces and US Army units such as Merrill's Marauders to sweep Japanese forces from northern Burma.
The 80th trained for combat and served as part of the defense force for the northeastern United States from, 1942–1943. Its flying squadrons were the 88th, 89th, and 90th Pursuit (later Fighter) Squadrons, later augmented by the 459th Fighter Squadron.
The 80th sailed for India, via Brazil, the Cape of Good Hope, and Ceylon, in May 1943, commencing combat operations in the China-Burma-India theater in September 1943. The group supported Allied ground forces during the battle for northern Burma and the push southward to Rangoon, bombing and strafing troop concentrations, supply dumps, lines of communication, artillery positions, and other objectives.
Initial flying material consisted mainly of the P-40 and a few P-38 fighters. Using modified, so-called “B-40 fighter” bombers (P-40s fitted with a single 1,000-pound bomb), the 80th FG attacked Japanese-held bridges, sometimes demolishing their target with a single bomb. The 80th was assigned the defense of the Indian terminus of the Hump route, which it carried out by striking Japanese airfields and patrolling Allied air bases to safeguard them from attack. The 80th received a Distinguished Unit Citation for intercepting a formation of Japanese aircraft, preventing the destruction of a large oil refinery in Assam, India, on 27 March 1944. During this engagement, they shot down 18 enemy machines without losing any of their own.
After the capture of Myitkyina and the nearby airfield on May 17, 1944, parts of the 80th Fighter Group relocated to this location. During the heavy fighting around Kohima and Imphal, the British troops deployed there requested air support and the 80th Fighter Group was able to successfully thwart the Japanese advance. In the further course of the operations in Burma, the pilots of the 80th Fighter Group destroyed more than 200 bridges held by the Japanese and shot down around 80 Japanese planes.
Though its primary mission in Burma was the protection of the "Hump" cargo route, the group also played an important role in reopening the Ledo/Burma Road.
From mid-1944 onwards, the P-40s were supplemented and gradually replaced with the new, much more potent P-47 Thunderbolt. With their heavier machine gun armament (eight instead of six 0.5” machine guns) and a much higher ordnance load of up to 2,500 lb (1,100 kg) of bombs, unguided rockets and M10 “Bazooka” launchers, this new aircraft type proved to be very effective.
The Republic P-47 Thunderbolt was a World War II-era fighter aircraft produced by the American aerospace company Republic Aviation from 1941 through 1945. When fully loaded, the P-47 weighed up to eight tons, making it one of the heaviest fighters of the war. The Thunderbolt was effective as a short-to medium-range escort fighter in high-altitude air-to-air combat and ground attack in both the European and Pacific theaters. The P-47 was designed around the powerful Pratt & Whitney R-2800 Double Wasp 18-cylinder radial engine, which also powered two U.S. Navy/U.S. Marine Corps fighters, the Grumman F6F Hellcat and the Vought F4U Corsair. The P-47 became one of the main United States Army Air Forces (USAAF) fighters of World War II and also served with other Allied air forces, including those of France, the United Kingdom, and the Soviet Union. Mexican and Brazilian squadrons fighting alongside the USAAF also flew the P-47. The Thunderbolt’s armored cockpit was relatively roomy and comfortable. Nicknamed the "Jug" owing to its appearance if stood on its nose, the P-47 was noted for its firepower, as well as its ability to resist battle damage and remain airworthy.
From October 1944 the operations of the 80th Fighter Group in Northern Burma concentrated on the destruction of the routes of the Burma Railway. Operations with army support (operating as "cab ranks" to be called in when needed) were very successful, with attacks on enemy airfields and lines of communication, and the aircraft flew a number escort sorties. An 80th FG squadron could finally be relocated to Shingbwiyang and was thus in the immediate vicinity of Ledo Street, which was under construction. The squadron flew many sorties against advancing Japanese forces and was instrumental in the capture of Myitkyina. Napalm bombs, a new weapon and initially improvised from drop tanks with makeshift fins, were also used with devastating effect, but some of them very close to the company's own lines.
By the end of the war, the group had destroyed more than 200 bridges and killed scores of bridge repair crews. Air-to-air and air-to-ground sweeps by the group's pilots claimed 80 enemy planes destroyed in the air or on the ground. The 80th Fighter Group was withdrawn from combat in May 1945 and inactivated in November.
General characteristics:
Crew: 1
Length: 36 ft 1.75 in (11.02 m)
Wingspan: 40 ft 9 5/16 in (12.429 m)
Height: 14 ft 8 1/16 in (4.472 m)
Airfoil: Seversky S-3
Empty weight: 10,000 lb (4,536 kg)
Max takeoff weight: 17,500 lb (7,938 kg)
Powerplant:
1 × Pratt & Whitney R-2800-59 18-cylinder air-cooled radial piston engine, 2,000 hp (1,500 kW),
driving a 4-bladed Curtiss Electric C542S constant-speed propeller, 13 ft (4.0 m) diameter
Performance:
Maximum speed: 426 mph (686 km/h, 370 kn) at 30,000 ft (9,100 m)
Range: 1,030 mi (1,660 km, 900 nmi)
Service ceiling: 42,000 ft (13,000 m)
Armament:
8x 0.5” caliber (12.7 mm) M2 Browning machine guns (3.400 rounds)
Up to 2,500 lb (1,100 kg) of bombs, drop tanks and/or up to ten 5” (130 mm) unguided rockets
The kit and its assembly:
This is a very modest what-if model – just a fictional livery on a stock model, and part of the ongoing plan to “build down” The Stash™ of kits during the ongoing Corona lockdown. The idea behind it was spawned by a number of decals for P-40s for the 80th FG I found in my scrap box, which all carried spectacular skull markings on their noses. I wondered if and how these could be adapted to another aircraft type – and the P-47 lent itself for this project due to its sheer “canvas” size, despite having a radial engine, and being the natural successor of the P-40 in USAAF service.
From that I spun the idea further and settled for an early Razorback P-47D, in the form of the very nice Academy kit. The kit was basically built OOB, it went together nicely without major fights – a trait that I really like about most Academy kits. The only true weak spot of the P-47 is the flaps’ undersides: they are pretty thick/massive, so that there are shallow sinkholes. These are easy to fill, though, even though I ignored this flaw and rather lowered the flaps, a mod that’s pretty easy to do.
An addition is a scratched D/F loop antenna on a streamlined socket behind the cockpit, a typical feature of P-47s operated in the BMI theatre. The loop was created with thin wire, the socket is a piece of sprue, integrated into the spine with some putty. As a late-production Razorback Thunderbolt I gave the aircraft a Curtiss Electric paddle-bladed propeller, which the Academy kit offers as an optional piece.
The ordnance was also taken from the kit: a pair of Bazooka triple launchers for ground attack duties and a drop tank under the fuselage.
Painting and markings:
A simple affair: as an early P-47, I gave the aircraft the standard USAAF livery of olive drab and neutral grey. I used Tamiya XF-62, IMHO the best interpretation of the tone, and ModelMaster 1740, actually FS 36231 instead of FS 36173, but the Dark Gull Grey is a bit lighter than Neutral Grey and looks IMHO better on the 1:72 scale model. AFAIK, no P-47 carried the earlier mid-green blotches on the wings anymore. The cockpit was painted in Interior Green, while the landing gear wells became zinc chromate yellow, very traditional.
The individual aircraft markings were more spectacular and also challenging. The real eye-catcher is pair of 80th FG skulls on the cowling flanks, even though these had to be completed with paint since they come from a Hobby Boss P-40N and feature empty sections for the exhaust stubs. The empty eye sockets had to be added manually, too, and since there was now a lot of white, I added – after consulting pictures of 80th FG P-40s - thin black lines to the skull with a felt tip pen. A real improvement, and it’s even authentic!
Furthermore, I added 1st Air Commando Group markings in the form of five white diagonal stripes around the rear fuselage. This group operated in the BMI area, e.g. P-51s, B-25s and even P-47s, but the 80th FG was not part of it. Nevertheless, the stripes suit the Razorback very well, and they were created with generic 2mm decal stripes from TL Modellbau. Each stripe had to be applied and trimmed individually, not an easy task on the conical tail with its concave and convex surface. The result is not perfect, but I am fine with it, and it looks very cool.
Pictures of early USAAF P-47s in the BMI are hard to find, but what I found suggests that Allied machines wore single bands on wings and tail surfaces as additional ID markings from 1943 on, much like the P-47s over Europe. On later NMF aircraft, these were dark blue (on both USAAF and RAF aircraft), and I was lucky to have a complete set of white P-47 markings left over from an Xtradecal set for SEAC RAF Thunderbolts, which comes with pre-cut bands in white and blue, very convenient! On the downside, the white fuselage stripes dramatically revealed that the P-47’s OOB decals, esp. the Stars and Bars, lacked opacity, so that I had to add some white paint manually to hide the resulting mess.
Typical unit markings of the 89th FS are a red spinner, and since the P-47 has only a small one, I added a thin red frame around the cowling, as carried by later real-world 89th FS P-47s, which were left in bare metal, though. As a gimmick I painted the wheel hubs in red, too. As a personal marking of the pilot I christened the aircraft “The Big Fella”, taken from an Irish pre-WWII armored car, and I added some air victory markings.
As usual, the kit received a black ink washing overall and some post panel shading with Revell 42 and 46 on the upper surfaces and ModelMaster 2105 (Dark French Blue Gray) underneath for visual drama and weathering. Some light soot stains around the gun muzzled were created with graphite, oil stains under the fuselage with Tamiya “Smoke”.
While this was not a complex build and even the livery is pretty close to real world standards, I like the outcome and how the skull markings stand out on the huge P-47. The array of fuselage stripes are an interesting visual extra, even though I was afraid that they were, together with the white ID stripes on the wings, a bit too much. The red highlights are an interesting contrast, too, and IMHO the whole decoration works fine. Everything fictional, but plausible and believable.
Unlike the Cloisters in New York this display has no natural overhead light source giving a very theatrical effect. In a way it diminishes the architecture reminding me of the "environment" type theater so popular in the early 20th century.
Many people call themselves atheists, and it is frequently argued by some that atheism is the only rational viewpoint.
However, it is also often said that there is no such thing as a genuine atheist.
This is supported by the Bible which declares: “the fool hath said in his heart there is no God.”
So which view is correct?
If we give just a little thought to this matter, we can see that there is no argument at all as to whether the qualities and properties usually attributable to God actually exist.
This is certain and beyond dispute.
So really the only disagreement is over the source or origin of these attributes.
Furthermore, we can understand that there are only 2 possible, alternative sources of these attributes.
It is self evident that something material can never come out of (absolute) nothing of its own accord (First Law of Thermodynamics & Law of Cause and Effect). (Something cannot create itself, it would need to pre-exist its own creation to do so).
We know that something material exists (i.e. the universe), therefore something must have always existed, something must be eternal and have had no beginning. This eternal something, can only be:
1. A force or power independent of the material, and thus the Creator of the material, OR
2. The material itself.
So an eternal nature must be possessed by,
EITHER:
1. A Supernatural Power.
OR
2. Matter/energy.
Consequently, all the other qualities, powers and potentialities which exist in the universe must have originally derived from ONE OR OTHER of these two proposed 'eternal' sources.
Some of the qualities existing in the material world.
Laws of Nature, Life, Information & means of information storage (DNA etc.), Consciousness, Intelligence, Design, Order, Motion, Love, Choice, Good, Beauty, Emotion, Kindness, Personality, Morality, Awareness, Justice, Wisdom, Hope, Joy, skill, etc.
There is no disagreement that these qualities are present in the universe.
The only dispute is over the source or origin of these qualities.
THEREFORE ....
Is the stuff of the universe (matter/energy) eternal?
Does this 'eternal matter' intrinsically possess all the above qualities, or the inherent potential to produce them of its own volition?
OR
Is there a power greater than, pre-existing and independent of, the material?
A Supernatural Creator of the material, possessor and originator of all the above attributes evident in the material creation?
IT CAN ONLY BE ONE OR THE OTHER
SO THIS IS THE ONLY DISAGREEMENT, AND IT IS AN AGE-OLD DISAGREEMENT.
No atheist would attempt to claim that mankind is the originator of all these qualities.
We are not eternal, we did not create ourselves or the universe, something greater than us essentially exists.
Is that something a Supernatural Creator God?
Or a purely material power which must intrinsically possess all the qualities, powers & potentialities usually attributed to a Supernatural Creator God?
- - A material god? - - A pagan god!
SO THE CHOICE IS CLEAR,- -
WE MUST FACE THE FACTS! - -
ATHEISM (or even agnosticism) IS NOT AN OPTION.
YOU MUST PAY HOMAGE TO A POWER WHICH IS GREATER THAN YOURSELF,
THAT POWER IS EITHER:
A Creator God as described in the Bible,
OR,
The material pagan god or gods' (represented by natural entities, such as: Mother Earth, Mother Nature, the Sun, the Moon, an 'intelligent' Universe, or idols of stone, wood etc.) which you must necessarily imbue with the SAME ATTRIBUTES.
Atheism = the religion of Pagan Naturalism re-invented.
SO NOW CHOOSE YOUR GOD?
Footnote:
An eternally, self-existent universe, or any uncaused, natural entity with no beginning is not possible.
Matter/energy cannot be eternally existent with no beginning.
Why?
Because all natural things are contingent.
Contingency is an inherent property of all natural entities. They have to comply with the law of cause and effect, so they cannot exist independently of causes.
The nearest you could get to eternally, existent matter/energy would be a very, long chain of causes and effects, but a long chain is not eternally existent, it has to have a beginning at some point. At the beginning there would have to be a non-contingent, eternally existent, first cause. A long chain of causes and effects simply pushes a first cause further back in time, it can't eliminate it.
What about an eternally, cyclical universe?
It is obvious that the idea of the universe simply rewinding itself in a never ending cycle, which had no beginning, is unscientific nonsense. As well as the Law of Cause and Effect - the Second Law of Thermodynamics also rules it out
There is no such thing as a free lunch, the idea of a rewinding universe is tantamount to applying the discredited notion of perpetual motion - on a grand scale, to the universe.
Contingent things don't just rewind of their own accord.
Where does the renewed power or renewed energy potential come from?
If you wind up a clock, it doesn't rewind itself after it has stopped.
The universe had a beginning and it will have an end. That is what science tells us, it cannot rewind itself.
The Second Law of Thermodynamics tells us the universe certainly had a beginning and will have an end. The energy potential of the universe is decreasing from an original peak at the beginning of the universe. Even the most fundamentalist atheists seem to accept that. Which is why most of them believe in some sort of beginning event, such as a big bang explosion.
So an eternally existent, god of 'matter/energy' is demonstrably IMPOSSIBLE... that leaves only one POSSIBLE choice of god - the supernatural, creator God, as described in the Bible.
Essential characteristics of the first cause.
Consider this short chain of causes and effects:
A causes B, - B causes C, - C causes D, - D causes E.
'A, B, C & D' are all causes and may all look similar, but they are not, there is an enormous and crucial difference between them.
Causes B, C & D are fundamentally different from cause A.
Why?
Because A is the very first cause and thus had no previous cause. It exists without a cause. It doesn’t rely on anything else for its existence, it is completely independent of causes - while B, C & D would not exist without A. They are entirely dependent on A.
Causes; B, C & D are also effects, whereas A is not an effect, only a cause.
So we can say that the first cause ‘A’ is both self-existent and necessary. It is necessary because the rest of the chain of causes and effects could not exist without it. We also have to say that the subsequent causes and effects B, C, D and E are all contingent. That is; they are not self-existent they all depend entirely on other causes to exist.
We can also say that A is eternally self-existent, i.e. it has always existed, it had no beginning. Why? Because if A came into being at some point, there must have been something other than itself that brought it into being … which would mean A was not the first cause (A could not create A) … the something that brought A into being would be the first cause. In which case, A would be contingent and no different from B, C, D & E.
We can also say that A is adequate to produce all the properties of B, C, D & E.
Why?
Well in the case of E we can see that it relies entirely on D for its existence, E can in no way be superior to D because D had to contain within it everything necessary to produce E. The same applies to D it cannot be superior to C, but furthermore neither E or D can be superior to C, because both rely on C for their existence, and C had to contain everything necessary to produce D & E.
Likewise with B, which is responsible for the existence of C, D & E.
As they all depend on A for their existence and all their properties, abilities and potentials, none can be superior to A whether singly or combined. A had to contain everything necessary to produce B, C, D & E including all their properties, abilities and potentials.
Thus we deduce that; nothing in the universe can be superior in any way to the very first cause of the universe, because the whole universe, and all material things that exist, depend entirely on the abilities and properties of the first cause to produce them.
So to sum up … a first cause must be uncaused, must have always existed and cannot be in any way inferior to all subsequent causes and effects. In other words, the first cause of the universe must be eternally, self-existent and omnipotent (greater than everything that exists). No natural entity can have those attributes, that is why a Supernatural, Creator God MUST exist.
What about polytheism, can there be more than one God or Creator.
It is patently obvious there can only be one supernatural first cause.
The first cause is infinite - and logically, there cannot be more than one infinite entity.
If there were two infinite entities, for example, A and B. The qualities and perfections that are the property of B would be a limitation on the qualities and perfections of A. and vice versa, so neither would be infinite.
If A & B had identical qualities and perfections they would not be two different entities, they would be identical and therefore the same entity, i.e. a single, infinite, first cause. So there can be only one infinite being or entity, only one supernatural, first cause and creator of the universe.
So when atheists keep repeating the claim - that there is no reason to believe the monotheistic, Christian God is any different from the multiple, gods of pagan religions, it simply displays their ignorance and lack of reasoning.
FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."
You have full permission to use these images for whatever you like as long as you credit me through one of these links.
www.flickr.com/cinematicaptures
www.youtube.com/channel/UCna6LNSjL3dlfJ5tC_62-lQ
Song Lixin, President, Talents Magazine, People's Republic of China, Yoshimasa Hayashi, Minister of Education, Culture, Sports, Science and Technology of Japan, Tinatin Kandelaki, General Producer, Match TV, Russian Federation and Xu Jicheng, Deputy Director, Media and Communications Department, Beijing Organising Committee for the 2022 Olympic and Paralympic Winter Games, People's Republic of China during the Session “The Sports Effect” at the Annual Meeting of the New Champions in Tianjin, People's Republic of China 2018. Copyright by World Economic Forum / Faruk Pinjo
The Carnival of Venice (Italian: Carnevale di Venezia) is an annual festival, held in Venice, Italy. The Carnival ends with the Christian celebration of Lent, forty days before Easter on Shrove Tuesday (Pancake Tuesday or Mardi Gras), the day before Ash Wednesday. The festival is famed for its elaborate masks.
It is said that the Carnival of Venice was started from a victory of the "Serenissima Repubblica" against the Patriarch of Aquileia, Ulrico di Treven in the year 1162. In the honor of this victory, the people started to dance and make reunions in San Marco Square. Apparently, this festival started on that period and became official in the Renaissance
in the seventeenth century, the baroque carnival was a way to save the prestigious image of Venice in the world. It was very famous during the eighteenth century. It encouraged licence and pleasure, but it was also used to protect Venetians against the anguish for present time and future.
However, under the rule of the King of Austria, the festival was outlawed entirely in 1797 and the use of masks became strictly forbidden. It reappeared gradually in the nineteenth century, but only for short periods and above all for private feasts, where it became an occasion for artistic creations
After a long absence, the Carnival returned to operate in 1979.The Italian government decided to bring back the history and culture of Venice, and sought to use the traditional Carnival as the centerpiece of its efforts. The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Today, approximately 3 million visitors come to Venice every year for the Carnival. One of the most important events is the contest for la maschera più bella ("the most beautiful mask") placed at the last weekend of the Carnival and judged by a panel of international costume and fashion designers.
Carnival masks
A selection of Venetian carnival masks
Masks have always been an important feature of the Venetian carnival. Traditionally people were allowed to wear them between the festival of Santo Stefano (St. Stephen's Day, December 26) and the start of the carnival season at midnight of Shrove Tuesday. As masks were also allowed on Ascension and from October 5 to Christmas, people could spend a large portion of the year in disguise. Maskmakers (mascherari) enjoyed a special position in society, with their own laws and their own guild.
Venetian masks can be made of leather, porcelain or using the original glass technique. The original masks were rather simple in design, decoration, and often had a symbolic and practical function. Nowadays, most of them are made with the application of gesso and gold leaf and are all hand-painted using natural feathers and gems to decorate.
History
There is little evidence explaining the motive for the earliest mask wearing in Venice. One scholar argues that covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history.
The first documented sources mentioning the use of masks in Venice can be found as far back as the 13th century. The Great Council made it a crime to throw scented eggs. The document decrees that masked persons were forbidden to gamble
Another law in 1339 forbade Venetians from wearing vulgar disguises and visiting convents while masked. The law also prohibited painting one's face, or wearing false beards or wigs.[8]
Near the end of the Republic, the wearing of the masks in daily life was severely restricted. By the 18th century, it was limited only to about three months from December 26. The masks were traditionally worn with decorative beads matching in colour.
Types of masks
Several distinct styles of mask are worn in the Venice Carnival, some with identifying names
People with different occupations wore different masks.
Bauta
Masks at the Carnival of Venice, with the "Bauta" mask shown on the left.
The bauta (sometimes referred as baùtta) is a mask, today often heavily gilded though originally simple stark white, which is designed to comfortably cover the entire face; this traditional grotesque piece of art was characterized by the inclusion of an over-prominent nose, a thick supraorbital ridge, a projecting "chin line", and no mouth. The mask's beak-like chin is designed to enable the wearer to talk, eat, and drink without having to remove it, thereby preserving the wearer's anonymity. The bauta was often accompanied by a red or black cape and a tricorn.
In the 18th century, together with a black cape called a "tabarro", the bauta had become a standardized society mask and disguise regulated by the Venetian government.
It was obligatory to wear it at certain political decision-making events when all citizens were required to act anonymously as peers. Only citizens (i.e., men) had the right to use the bauta. Its role was similar to the anonymizing processes invented to guarantee general, direct, free, equal and secret ballots in modern democracies. Also, the bearing of weapons along with the mask was specifically prohibited by law and enforceable by the Venetian police.
Given this history and its grotesque design elements, the bauta was usually worn by men, but many paintings done in the 18th century also depict women wearing this mask and tricorn hat. The Ridotto and The Apple Seller by Pietro Longhi are two examples of this from the 1750s.
Columbina
The Columbina (also known as Columbine and as a Columbino) is a half-mask, only covering the wearer's eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The Columbina mask is named after a stock character in the Commedia dell'arte: Columbina was a maidservent and soubrette who was an adored part of the Italian theatre for generations. It is said it was designed for an actress because she did not wish to have her beautiful face covered completely. In fact, the Columbina is entirely a modern creation. There are no historic paintings depicting its use on the stage or in social life.
While both men and women now wear this mask, it began as a woman's analog to the bauta.
Medico della peste (The Plague Doctor)
Medico della Peste mask.
The Medico della peste, with its long beak, is one of the most bizarre and recognisable of the Venetian masks, though it did not start out as carnival mask at all but as a method of preventing the spread of disease. The striking design originates from 17th-century French physician Charles de Lorme who adopted the mask together with other sanitary precautions while treating plague victims
The mask is often white, consisting of a hollow beak and round eyeholes covered with crystal discs, creating a bespectacled effect. Its use as a carnival mask is entirely a modern convention, and today these masks are often much more decorative.
The plague doctors who followed De Lorme's example wore the usual black hat and long black cloak as well as the mask, white gloves and a stick (so as to be able to move patients without having to come into physical contact with them). They hoped these precautions would prevent them contracting the disease. Those who wear the plague doctor mask often also wear the associated clothing of the plague doctor. The popularity of the Medico della peste among carnival celebrants can be seen as a memento mori.
Moretta / Servetta muta
The moretta (meaning dark one lady) or servetta muta (meaning mute servant woman) was a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn by patrician women. It derived from the visard mask invented in France in the sixteenth century, but differed in not having a hole to speak through. The mask was only just large enough to conceal a woman's identity and was held in place by the wearer biting on a button or bit (the women wearing this mask were unable to speak, hence muta) and was sometimes finished off with a veil. The Rhinocerous by Pietro Longhi depicts this mask in use in 1751. It fell into disuse about 1760.
Volto (Larva)
The volto (Italian for face) or larva (meaning ghost in Latin) is the iconic modern Venetian mask: it is often stark white though also frequently gilded and decorated, and is commonly worn with a tricorn and cloak. It is secured in the back with a ribbon. Unlike the moretta muta, the volto covers the entire face including the whole of the chin and extending back to just before the ears and upwards to the top of the forehead; also unlike the moretta muta, it depicts simple facial features like the nose and lips. Unlike the bauta, the volto cannot be worn while eating and drinking because the coverage of the chin and cheeks is too complete (although the jaw on some original commedia masks was hinged, this is not a commedia mask and so is never hinged—the mouth is always completely closed).
Pantalone
Another classic character from the Italian stage, Pantalone, meaning he who wears the pants or father figure in Italian, is usually represented as a sad old man with an oversized nose like the beak of a crow with high brows and slanted eyes (meant to signify intelligence on the stage). Like other commedia masks, Pantalone is also a half mask.
Arlecchino
Arlecchino's half-mask is painted black with an ape-like nose and a "bump" to signify a devil's horn
Arlecchino, meaning harlequin in Italian, is a zanni character of the commedia. He is meant to be a kind of "noble savage", devoid of reason and full of emotion, a peasant, a servant, even a slave. His originally wooden and later leather half-mask painted black depicts him as having a short, blunt, ape-like nose, a set of wide, round, arching eyebrows, a rounded beard, and always a "bump" upon his forehead meant to signify a devil's horn. He is a theatrical counterpoint to and often servant of Pantalone, and the two characters often appeared together on the stage.
Zanni
A leather version of a Zanni mask, profile view
The Zanni character is another classic of the stage. His mask is a half mask in leather, showing him with low forehead, bulging eyebrows and a long nose with a reverse curve towards the end. It is said that the longer his nose, the more stupid he is. The low forehead is also seen as a sign of stupidity.[14]
Mask-makers[edit]
The mascherari (or mask-makers) had their own statute dated 10 April 1436. They belonged to the fringe of painters and were helped in their task by sign-painters who drew faces onto plaster in a range of different shapes and paying extreme.
In popular culture
Venetian masks feature prominently in the film Eyes Wide Shut. Stores that supplied the masks include both Ca' Macana and Il Canovaccio in Venice.
Carnevale is depicted in the 2009 video game Assassin's Creed II. The main character, Ezio Auditore, is assisted by the artist Leonardo da Vinci in hunting down and assassinating the corrupt Doge of Venice during Carnevale; a golden mask, which Ezio must obtain to enter a private party held by the Doge, plays a significant role in this part of the game. Carnevale is also depicted in the 2005 video game Sly 3: Honor Among Thieves. The first episode of the game is set during Carnivale in 2001, and large enemies wear masks.
Once, i May I waited for a lift and at that time I took this capture.
I was tired, waited for a long, long time and the engine-driver did not stop!
Some people are so rude. May 2011.
Alliance cruiser and Turian frigate in my dining room. Cause I can.
Unsurprisingly, I almost never eat in my dining room.
This is for “Its An Addiction” group tutorial HERE
I got totally lost on this so there is a couple of processes missing but it's my first attempt. I will try again when I have more time, don't like things beating, lol.
Stock credits with my thanks.
**This is my art work, not your free stock resource. Please respect my license.
If posting to your website or bog, please credit me as the artist.**
PRESS RELEASE Nº24/24th AU SUMMIT
24TH ORDINARY SESSION OF THE ASSEMBLY OF AFRICAN UNION HEADS OF STATE AND GOVERNMENT BEGINS IN ADDIS ABABA
Addis Ababa Ethiopia, 30 January 2015-The 24th summit of the Heads of State and Government of the African Union, which started in Addis Ababa today has heard from distinguished speakers of the progress and some of the challenges that Africa faces, as well as proposals for the way forward. The opening ceremony of the summit also saw the election of Zimbabwean President Robert Mugabe as the Union’s Chairperson for the year 2015.
Speaking at the opening ceremony of the 24th summit of the African Union today, Dr DlaminiZuma said Africa has no choice but to move forward and upwards. The continent, she said, has been climbing, “a step at a time, up the steep cliff towards peace, prosperity and the restoration of the dignity of its people”.
She projected that the present generation is the one that will eradicate poverty, disease and hunger. “We are the generation that shall manage diversity and silence the guns”, she added.
The Chairperson recalled that, at the 50th anniversary celebrations of the Organisation of African Unity in 2013, the continent’s resolve to be in charge of its destiny, informed its decision to develop Agenda 2063 “through a people-driven process for the realization of our vision for an integrated, people-centred, prosperous Africa at peace with itself”. The Agenda 2063 framework document will be presented for adoption by the Heads of State and Government today.
Agenda 2063 outlines the aspirations and the concrete programmes to steer the continent for the next fifty years: to diversify African economies and industrialise; to have a skills and entrepreneurial revolution, unleashing the creativity and energy of young people, and to effect an agricultural and agro-processing transformation, so that Africa can feed itself and contribute to feeding the world.
The summit of African Union Heads of State and Government is being held under the theme “Year of Women’s Empowerment and Development”. Various speakers at the summit’s opening ceremony expressed their commitment to mainstreaming women in all socio- economic activities, with Malawian President Mr PeterMutharika dedicating his entire statement to the topic. He outlined major successes achieved by his country, but also mentioned the challenges they face. However he gave his commitment that his government will continue to strive to achieve gender equality. United Nations Secretary General Mr Ban Ki Moon also expressed strong support for the AU’s annual theme: “Women must be at the center and front of all our lives”, he said.
Issues of peace and security dominated many of the presentations by the African and visiting Heads of State and Government. President of the State of Palestine and Chairperson of the Palestine Liberation Organisation Executive Committee Mr Mahmoud Abbas spoke of his government’s desire and the efforts being exerted to achieve a Palestinian state living side by side with the state of Israel.
Many of the leaders condemned terrorism in very strong terms, with then outgoing Chairperson of the African Union Mr Mohammed Ould Abdelaziz saying, “Terrorism remains a global scourge and fighting it requires cooperation at the international level.”AUC Chairperson Dr Dlamini Zuma also cautioned that Africa should be aware of the new global threats such as terrorism, insecurity and climate change. “Terrorism, in particular the brutality of Boko Haram against our people, the senseless killings, the destruction of property, the enslavement and sale of our people, our girls kidnapped and married, and the terrorization of villages, are a threat to our collective safety, security and development”.
The Ebola virus disease that affected mostly three countries in West Africa attracted a lot of attention at the meeting of the Heads of State and Government. AU Commission Chairperson Dr NkosazanaDlaminiZuma praised the work of the 835 African health workers who were deployed to Guinea, Liberia and Sierra Leone under the banner of the African Union Support to the Ebola Outbreak in West Africa (ASEOWA). She also extended her gratitude to the ASEOWA head of mission Dr Julius Oketta and the African private sector that is raising funds to keep the health workers on the ground until the affected countries are declared Ebola free. There are signs that, due to the work of the ASEOWA health workers among others, the Ebola crisis is now abating, with the incidents of infection and death from the disease vastly decreasing.
Tunisian President Mr Beji Caid Essebsi informed the summit that “the democratic process chosen by Tunisians is irreversible”. Tunisians, he said, had proven that the people of Africa can build the continent with their own hands. He also said Tunisia is proud of being African.
New Zambian President Mr Edgar Lungu thanked the African Union for supporting his country through the death of Mr Michael Satain October 2014 and the subsequent elections that ushered him into power. He thanked the Southern African Development Community, the AU and other organisations that sent in election monitors. Zambia, he said, has demonstrated that it is possible to have peaceful elections, and pledged that Zambia will actively participate in the affairs of the Union.
The late Zambian President meanwhile was honoured by his colleagues and other delegates by a one minute silence in his memory.
Outgoing Namibian President Mr HifikinyePohambawas given a chance to bid farewell to his colleagues at today’s opening ceremony of the Assembly.
New AU Chairperson Mr Robert Mugabe of Zimbabwe meanwhile accepted his position by saying "By electing me to preside over this august body, with full knowledge of the onerous responsibility that lies ahead, I humbly accept your collective decision". He urged Africa to take charge of its destiny and pledged to work for Africa’s development particularly through infrastructure development. He then proceeded to launch the theme of the year, i.e. “Women’s Empowerment and Development towards Agenda 2063”.
The meeting of African Heads of State and Government will conclude on Saturday 31st January with the adoption of decisions and declarations to guide the work of the African Union this year.
WZM/
For inquiries, contact:
Wynne Musabayana | Deputy Head of Division | Information and Communication Directorate | African Union Commission | Tel: (251) 11 551 77 00 | Fax: (251) 11 551 78 44 | E-mail: MusabayanaW@africa-union.org
For further information:
Directorate of Information and Communication | African Union Commission I E-mail: DIC@african-union.org I Web Site: www.au.int I Addis Ababa | Ethiopia
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Produced from two frames, one in focus, the other out. Combined in Photoshop using layers and the 'Blend If' slider.
Polk audio show car at a formula D event.
Just trying somethings on CS3. I added a blueprint effect with a bit of orton.
30th November Light Painting session in the German war tunnels in St Aubin Jersey. A group of us had arranged to have the tunnel opened for a session. All the light work is the result of a collaborate effort between 7 people, some had done a bit of light painting on their own or working if pairs, for 3 people it was their first attempts. I'm glad to have organised to the afternoon which helped other discovering the buzz that comes from light painting. Getting 7 people who don't know each other to collaborate on a photo project for the afternoon is possible. Well done guys....activating the shutter button on the camera was the easiest thing to do this afternoon :)
IMG_5544
PRECIOSA ORNELA presents the new PRECIOSA Pip™ pressed bead from the PRECIOSA Traditional Czech Beads brand.
The bead’s dimensions of 5 x 7 mm comply with the current trend for mini beads. The axially symmetric flattened shape of the small core enables the realisation of half metal coating on both sides of the bead with the resulting effect of an overall decoration. The strung beads fit together tightly and create an interlocking zip effect. Six beads connected in a circle can easily be used to create an application in the shape of a flat flower which is a suitable accessory for seed bead embroidery. Thanks to its small protrusion, this bead is an excellent accessory to the two-hole PRECIOSA Twin™ beads and seed beads, like PRECIOSA Solo™.
TECHNICAL INFORMATION:
Article number: 111 01 346
Size: 5 x 7 mm
ca KS / KG: 6600
NEWS
PROJECTS
Wire Jewelry Making With PRECIOSA Pip™ ON-LINE
Kumihimo and PRECIOSA Pip™ ON-LINE
Design by Ivona Šuchmannová
Lens flare effect with the Enterprise-D. A nod to the new Star Trek movie from JJ Abrams which had tons of flares. Note that the lens flare in the photo is natural and is from a nearby light source and not photoshopped :-)
A familiar image of the lovely planet Jupiter from the Voyager missions, with fake Holga or Lomo effect added to make it more interesting. The overall darkening I kept because I like it dark. I like mystery.
NASA image is in the public domain and may not be copyrighted by anyone.
These were all taken in my bathroom with the lights off, the way I got different lighting was by shining partial light on certain parts i wanted illuminated for the shot, the streaks are created by showing the camera the light directly in front of it.
All of these were taken on a long exposure, and each displays a different style of lighting.
Snow can be a pain. But in early winter, I love lake effect snow. Unlike Michigan, and places like Buffalo, Who get pounded.
In early winter we only get occasionally. And it's usually just an inch or so of the soft fluffy variety. melting away in a day or so.....
When I was a child. It was the best sledding. And as an adult. The best when doing something outdoors. Because it meant warmer temperatures. After a cold blast.
Now by end of March and April. My tune will change greatly. Because then it will just be winter hanging on. But for today.......
Sleigh bells ring. Are you listening....
While this wordmark has been used in a floral style design before, I’ve now applied a retro effect to it. Finer details such as scotch tape and staple are also included to make this design more polished and interesting, which also helped me to experiment with another style that I may work on fairly soon.
To see more designs, please visit designtaneous.com